Background

"The Spirit of Albion" began life as a play devised by the Archway Theatre Young Adults Workshop.

Poster of the original stage production

The Archway Theatre is based in Horley, Surrey and the Young Adults Workshop is made up of 16 to 21 year old members of the theatre. Every summer,we put on a show - usually a devised piece. In September 2009 we decided that the summer 2010 production would be a musical and the music chosen was by Damh the Bard. 10 songs were picked out and the story and characters were created based on them. The show was performed for 3 nights in early July.

For more information on the show, including production diary, rehearsal and production photos, please click on the link below:

The audience response was so
positive, especially amongst the Pagan community who came to see the show that
the decision was made to revive the show and take it to Witchfest International at the Fairfield halls, Croydon on 6th November 2010. The one drawback was that most of the
original cast had now gone on to University, so the cast for Witchfest was especially put together for this ‘one-off’ performance. This time around,
the roles were played by an ‘age-appropriate’ cast made up of experienced
actors, all of whom jumped at the chance to bring such a unique show to life. Once again, we had a fantastic response from the audience.

The cast of the Witchfest Show.

Original Production review by Hannah
Cutting

‘The Spirit of
Albion’ is a thought provoking, inspiring and ultimately entertaining ‘play
with songs’, complete with ethereally beautiful music and existential themes.
It follows three protagonists as they find themselves led into a woodland glade
by mysterious ‘guides’ and asked to contemplate their dissatisfaction with their
respective modern lifestyles. It transpires the guides are in fact the ‘old
ones’, ancient pagan gods who have taken it upon themselves to enlighten these
world-weary travellers, opening their eyes and minds to the natural world. All
this is accompanied and unravelled through the medium of song.

Attempting to
put on a ‘musical’ is always a daring feat, so for a group of teenagers
renowned for acting ability but having thus far never showcased any form of
singing, the challenge is somewhat increased! I have eternal faith in the
talent of the group, guided by the pillar that is Gary Andrews, and creating
this show has proven my trust more than justified. I was lucky enough to
witness a snatch of rehearsals along the way, from early auditions to a week
before curtain-up, and felt privileged to be able to watch the production
develop. The courage and commitment shown from the group, always with such
vigour, is inspiring in itself.

The plot came
from the very music, and it shows; having been introduced to the songs of Damh
the Bard, the group decided to select ten of these and devise the story around
the strong themes echoing through the music, (including but not limited to work
pressures, animal testing, war, and substance abuse). Music has an intriguing
power to discuss hard-hitting subjects with a grace making them easier to
digest for an audience, so this was a clever way to approach introspective
drama. Furthermore, the plot being so intricately attuned to the songs enabled
it to flow in a harmonious rhythm that is difficult to achieve in devised
musical drama.

The stage itself
was transformed into a forest glade: walls decorated in shades of blue and
green; the spaces furnished with long leafy branches. Set design was fittingly
minimal for a production so full of imagination. Yet there was something
luxurious about the way it came together, with a notable ‘campfire’ light downstage
that was a nice atmospheric touch, and glorious costumes particularly for the
pagan gods, with their post-interval transformation. Ellen Dawson’s expert
stage-managing was evident in the smooth flowing transitions, all brought
together with an ever reliable and hard-working crew, with special mentions to
assistant director Roz Ingrams and head techie Dan Adams.

Credit to every
single one of the actors for creating a strong ensemble piece, with both
well-developed main characters and a versatile supporting cast. The three
protagonists grounded the play, with Carys Harper’s portrayal of the innocently
optimistic Esther, Ella Sowton’s ethically and emotionally conflicted Annie,
and James Abbott’s lightly sarcastic but passionate George. Juxtaposed were the
five pagan gods, all with their own particular role; the music became quite
educational, as the songs would explain their histories and pagan attitudes
towards the world. Indeed the singing was of an impressive standard as every
actor committed to the musical aspect of the production. This did not go
unnoticed and was the driving force behind making the music work, and it really
did. Particular acclaim goes to Bryan Tester’s Bob Dylan-esque haunting tones
and Stevie Pickering’s conviction. From the opening ‘Pagan Ways’, setting the scene
in a less conventional way, to the final ‘Spirit of Albion’ which ended like a
rock show; live instruments, dancing, electric guitars plugged into leaf-covered
amps; the night was a spectacle that truly had spirit.

Witchfest production review by Craig Sackett

In
a packed auditorium, I sat among the audience waiting to see how the show would
use the songs of Damh the Bard to tell it's own tale of magick and mystery. For
two enjoyable hours I was drawn in by the story, losing myself entirely to it's
woodland setting and the unfolding drama. So
enwrapped in the adventure was I, that I almost forgot I was actually a member
of an audience! Each one of us had been captivated the same way, with only our
shared laughter and tears reminding us of others around us.

Most
shows dazzle with fancy illusion, but SOA weaves real magick that rekindles an
old fire in each of us. The
cast gave faultless performances, with their acting and singing, raising both
the bar AND our spirits with every verse. While
the original Archway line up buzzed with a youthful enthusiasm, the Witchfest
cast took things further with a grace and gravity that added another way toward
the heart of that woodland grove.

As
the story came to it's conclusion, I felt refreshed and invigorated...as did
everyone in the theatre. Every voice sang along to the final song, and from the
smiles from audience and cast alike, it's clear to see that SOA is something
very special indeed....not only a show to watch, but also a story to be a part
of.

With
two performances now leading to the movie, the magick is set to continue and
once again deliver a fresh yet familiar message to pagans and lovers of good
storytelling alike.